This project aims to examine key as the transformation of genres gives the speech, the oral text (interviews, conversations) to the dramatic text (theater and film) from the method used to create drama by Brazilian playwright Luís Alberto de Abreu. Fan of the collaborative method of creation, his work becomes the result of a dialogical relationship, in which he is an architect by way of dialogues and relationships between subjects, since, its listed are marked by different views, and through the relationship other intertextual discourses (material collected, deponent, etc.), since this type of procedure, all subjects participating actively involved in the design of the work. To perform such analysis is used concepts derived from the Philosophy of Language, advocated by the Russian philosopher Mikhail Bakhtin, which are: gender of the speech, stated, author and hero, carnavalização, dialogism, polyphony and cronótopo to unpacks the transformed path speech in daily work of aesthetics. Selected as objects of analysis the work signed by Abreu: Borandá: auto do migrante (2004). This work has characteristics that lead to meeting the bakhtiniano thought that the speech comes in daily life and the surrounding polyphony and the construction of sets, builds its meaning within the relationships of the subjects, giving a sense of the complexity of the real where the 'other' is essential in the design of the 'I', where the speech of the subjects are constituted as they meet the other. This leads us to believe that Abreu, enunciator how to design your speech, consider the speech of others, which appears in its present and involved in its structure and training in this way, we identified a set of voices that intermingle within of his work. Thus it will seek to reflect Abreu is used for speeches, seemingly ordinary people, turning them into heroes and brings them to the center of the narrative, a quest to identify the design of his work as a change occurs in the speech genres and the existence of fusion of the real (life) with the fictitious (dramatic) and the changes that these works resulted in the lives of its participants, and therefore of their public.
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